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Observing Protest from a Place Women Artists and Patrons in the Netherlands, 1500–1700 FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Visual and Material Culture, 1300–1700 A forum for innovative research on the role of images and objects in the late me- dieval and early modern periods, Visual and Material Culture, 1300–1700 publishes monographs and essay collections that combine rigorous investigation with critical inquiry to present new narratives on a wide range of topics, from traditional arts to seemingly ordinary things. Recognizing the fluidity of images, objects, and ideas, this series fosters cross-cultural as well as multi-disciplinary exploration. We consider proposals from across the spectrum of analytic approaches and methodologies. Series Editor Dr. Allison Levy, an art historian, has written and/or edited three scholarly books, and she has been the recipient of numerous grants and awards, from the N ational Endowment for the Humanities, the American Association of University Women, the Getty Research Institute, the Dumbarton Oaks Research Library of Harvard University, the Whiting Foundation and the Bogliasco Foundation, among others. www.allisonlevy.com. FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Women Artists and Patrons in the Netherlands, 1500–1700 edited by Elizabeth Sutton Amsterdan University Press FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Cover illustration: Portrait of a Woman, probably a Self Portrait, Catharina van Hemessen, 1548. Courtesy of the Rijksmuseum, Amsterdam. Cover design: Coördesign, Leiden Lay-out: Newgen/Konvertus isbn 978 94 6372 140 0 e-isbn 978 90 4854 298 7 doi 10.5117/9789463721400 nur 685 © E. Sutton / Amsterdam University Press B.V., Amsterdam 2019 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Table of Contents List of Illustrations 7 Acknowledgements 11 1. Introduction: An Historiographical Perspective on Women Making Netherlandish Art History 13 Elizabeth Sutton 2. Catharina Van Hemessen’s Self-Portrait: The Woman Who Took Saint Luke’s Palette 27 Céline Talon 3. By Candlelight: Uncovering Early Modern Women’s Creative Uses of Night 55 Nicole Elizabeth Cook 4. In Living Memory: Architecture, Gardens, and Identity at Huis ten Bosch 85 Saskia Beranek 5. Louise Hollandine and the Art of Arachnean Critique 113 Lindsay Ann Reid 6. Reclaiming Reproductive Printmaking 143 Amy Reed Frederick 7. Towards an Understanding of Mayken Verhulst and Volcxken Diericx 157 Arthur J. DiFuria Index 179 FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS List of Illustrations Figures Figure 2.1. Catharina Van Hemessen, Self-Portrait, 1548, Öffentliche Kunstsammlung, Basel, oil on panel, 32.2 cm x 25.2 cm. Figure 2.2. Ludger tom Ring the Younger, Self-Portrait, 1547, Herzog Anton Ulrich- Museum, Braunschweig, oil on panel, 35 cm x 24.5 cm. Figure 2.3. Maerten Van Heemskerck, Saint Luke Painting the Virgin, c.1550, Musée des Beaux-Arts, Rennes, oil on panel, 206 cm x 144 cm. Figure 2.4. Sofonisba Anguissola, Self-Portrait, c.1556, Museum Zamek, Lancut, oil on canvas, 66 cm x 57 cm. Figure 3.1. Judith Leyster, A Game of Tric-Trac, about 1630. Oil on panel. Worcester Art Museum, Worcester, 1983.58 (Gift of Robert and Mary S. Cushman). © Worcester Art Museum, Massachusetts, USA / Bridgeman Images Figure 3.2. Judith Leyster, Man Offering Money to a Young Woman, 1631. Oil on wood panel, 30.8 x 24.2 cm. Mauritshuis, The Hague, inv. no. 564. © Mauritshuis, The Hague Figure 3.3. Judith Leyster, A Woman Sewing, 1633. Current location unknown, previously Collection Guy Stein, Paris, in 1937. Figure 3.4. Gesina ter Borch, A Man Courting a Lady (Heer die een dame het hof maakt), 1658–59. Ink and brush on paper, 313 x 204mm. Rijksmuseum, Amsterdam, BI-1890–1952–94(R). © Rijksmuseum, Amsterdam Figure 3.5. Gesina ter Borch, A Couple Strolling by Moonlight (Wandelend paar bij maanlicht), in or after circa 1654 ‒ in or before circa1659. Ink and brush on paper, d 125mm, Rijksmuseum, Amsterdam, BI-1887–1463–52A. © Rijksmuseum, Amsterdam Figure 3.6. Gesina ter Borch, Night-piece: Couple walking behind a woman with a lantern (Nachtstuk: echtpaar lopend achter een vrouw met een lantaarn, van achteren), circa 1655. Ink and brush on paper, 71 x 98mm, Rijksmuseum, Amsterdam, RP-T-1887-A-1329. © Rijksmuseum, Amsterdam Figure 3.7. Gesina ter Borch, Night: A Couple Walking Behind a Woman with a Lantern, c. 1655. Ink on paper,165 x 212mm. Rijksmuseum, Amsterdam, RP-T-00–60. Figure 4.1. Jan van der Heyden, Huis ten Bosch, View of the Garden Façade. Ca. 1668. Oil on Wood, 39.1 cm x 55.2 cm. Metropolitan Museum of Art, Accession no. 64.65.2. Figure 4.2. Jan Matthys and Pieter Post, Title page of De Sael van Orange, ghebouwt by haere Hooch. Amalie princesse dovariere van Orange etc. 1655. etching/ book illustration, 29.4 cm x 18.8 cm. Collection Rijksmuseum Amsterdam, RP-P-1905–6627 FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS 8 WOMEN ARTISTS AND PATRONS IN THE NETHERLANDS, 1500–1700 Figure 4.3. Jan Matthys after Pieter Post., Floor plan of main (second) floor of Huis ten Bosch. From De Sael van Oranje, ghebouwt bij haere Hoocht. Amalie Princesse Douariere van Oranje etc., 1655. Etching, 345mm × 396mm. Collection Rijksmuseum Amsterdam. RP-P-AO-12–96–4 Figure 4.4. Willem Buytewech, Title page to Merckt de Wysheit vermaert vant Hollantsche huyshouwen en siet des luypaerts aert die niet is te vertrouwen. 1615. Etching with engraved text, 137mm × 176mm. Rijksprentenkabinet, Amsterdam. BI-B-FM-053 Figure 4.5. Jan Matthys after Pieter Post. Algemeene Grond van de Sael van Orange, met haere omstaende Timmeragie, Hoven, Plantagie, etc. 1655. Etching, 295mm × 380mm. Collection Rijksmuseum Amsterdam, RP-P-AO-12–96–2 Figure 4.6. Gerard van Honthorst. Allegory on the Marriage of Amalia van Solms and Frederik Hendrik. 1648–1650. Oil on Canvas, 300 x 750 cm. Royal Palace Huis ten Bosch, The Hague. photograph: Margareta Svensson. Figure 5.1. Louise Hollandine, Self Portrait, c. 1640–1655, oil on panel, Collection RKD-Netherlands Institute for Art History, The Hague. Figure 5.2. Louise Hollandine, Self Portrait of Louise Hollandine Palatine as Benedictine Nun, c. 1659–1709, oil on canvas, Collection RKD-Netherlands Institute for Art History, The Hague. Figure 5.3. Louise Hollandine, Portrait of Three Women as the Daughters of Cecrops Finding the Serpent-shaped Erichthonius, c.1635–1709, oil on canvas, Collection RKD-Netherlands Institute for Art History, The Hague. Figure 5.4. Mary Hotchkiss after Louise Hollandine, Called the Prince of Denmark and Elizabeth, Viscountess Mordaunt, as Vertumnus and Pomona, but more probably Henry, 1st Viscount Mordaunt and Miss Taylor, oil on canvas, © National Trust / Peter Muhly. Figure 5.5. Hendrik Jacobus Scholten, Gerard van Honthorst Showing the Drawings of His Pupil Louise of Bohemia to Amalia van Solms, 1854, oil on panel, Rijksmuseum, Amsterdam. Figure 5.6. Gerard van Honthorst, Meleager and Atalanta. c. 1625–1655, chalk drawing, Rijksmuseum, Amsterdam. Figure 6.1. Magdalena de Passe (?) or Willem van de Passe (?), after Hans Holbein the Younger (?), Iana Graya from Heroologia Anglica. 1620. Engraving, 15.7 cm. x 11.3 cm. British Museum, Museum no. 2006, U.776. Figure 6.2. Designed by Jan van der Straet, called Stradanus, The Workshop of an Engraver (Sculpture in Aes), plate 19 from Nova Reperta. ca. 1600. Engraving, 20.2 x 27.1 cm. Metropolitan Museum of Art, Accession no. 53.600.1823. Figure 6.3. Magdalena de Passe after Adam Elsheimer, Apollo and Coronis. ca. 1623. Engraving. 21.2 cm. x 23 cm. British Museum, Museum no. S.7458. FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS L ist OF ILLUSTRATIONS 9 Figure 7.1. Pieter Coecke van Aelst, Ces Moeurs et fachones de faire de Turcz I, 1553, 30 x 45.9 cm, ink on paper, Rijksmuseum, Amsterdam (Object Number RP-P-OB-2304K) Figure 7.2. Johannes Wiericx, Portrait of Volcxken Diericx, 1579, 15.9 x 12.4 cm, ink on paper, Rijksmuseum, Amsterdam (RP-P-OB-67.071). Figure 7.3. Unknown Artist, Portrait of Pieter Coecke van Aelst and Mayken Verhulst, c. 1550, oil on panel, 50.5 x 59 cm, Kunsthaus, Zurich. Figure 7.4. Quentin Massys, The Moneylender and his Wife, 1514, oil on panel, 70 x 67 cm, Louvre, Paris, Inv. no. 1444. Figure 7.5. Johannes or Lucas van Doetechum after Hans Vredeman de Vries, Street with the Print Shop Aux Quatre Vents, 1563, ink on paper, 21.1 x 25.9 cm, Amsterdam, Rijksmusum (Object Number BI-1897-A-972–3). Color Plates Plate 1. Catharina Van Hemessen, Self-Portrait, 1548, Öffentliche Kunstsammlung, Basel, oil on panel, 32.2 cm x 25.2 cm. Plate 2. Ludger tom Ring the Younger, Self-Portrait, 1547, Herzog Anton Ulrich- Museum, Braunschweig, oil on panel, 35 cm x 24.5 cm. Plate 3. Sofonisba Anguissola, Self-Portrait, c.1556, Museum Zamek, Lancut, oil on canvas, 66 cm x 57 cm. Plate 4. Judith Leyster, A Game of Tric-Trac, about 1630. Oil on panel. Worcester Art Museum, Worcester, 1983.58 (Gift of Robert and Mary S.
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